The Long Dark Night for India’s Muslims

Our own Hindufication

We write this not as outsiders pretending to diagnose India, but as people who have undergone a gentler version of the same process. Over fifteen years of family and work on the subcontinent, our own Islamicate inheritance has been quietly sifted. The Persianate was retained. The Arabic was allowed to fall away. The qawwali, the food, the manners, the ghazal, the Mughal grammar of taste. All survived. The devotional Islamicate self did not. We arrived as something close to a Anglo-Islamicate hybrid. We are leaving, slowly, as a Hindu-Persianate one. We did not plan this. We watched it happen to ourselves.

The Persian survives. The Arabic does not. The poetry survives. The prayer does not. This is the formula. Once you see it, you cannot unsee it.

We made this passage with privilege, with distance, with choice, and with somewhere else to be if we changed our minds. The Indian Muslim, the one with no other passport and no other country, is being asked to make the same passage on terms set by people who never had to make it themselves. That asymmetry is this post.

The morning song

The news this week was Memo No. 470-ME, dated 19 May 2026, signed by the Director of Madrasah Education, Government of West Bengal. The order makes the singing of Vande Mataram mandatory at morning assembly in every state-recognised madrasa: government, aided, unaided, all of them. Immediate effect. Approval of competent authority.

Note the date. Suvendu Adhikari was sworn in as the first BJP Chief Minister of West Bengal on 9 May, ten days earlier, on a 207-seat mandate that ended Mamata Banerjee’s fifteen-year run. The order is ten days into the new government. Of all the actions available to a freshly-installed state administration, this is the gesture chosen. The first major item on the agenda was the Muslim schoolchild’s morning. The signal is the signal.

The Pakistani faction of our commentariat is aghast, and not unreasonably. The song is a hymn to the Great goddess Durga, drawn from a novel that called for war on Muslims, and forcing a Muslim child to recite it is a small humiliation that announces a large arrangement. One of our Pakistani commenters compared it to forcing a vegetarian Hindu to eat beef. The comparison overstates and understates at the same time. It overstates because nobody is forcing food into anyone’s mouth. It understates because food is forgotten by the afternoon, and a song sung daily for ten years writes itself into the spine.

The row is the symptom. The disease is older. Bengal is the latest frontier, not the first.

The Persianate without the Muslim

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Sanam Saeed at Cannes, Alia Bhatt Out of Frame?

I. The Cannes Frame

The clip is short and damning. Alia Bhatt walks the Cannes red carpet as L’Oréal’s global face, waving at a thicket of photographers who never quite lift their cameras.

Sanam Saeed arrives in a white peacock couture by Hussain Rehar, fifty artisans and 2,354 hours, a tribute to Shamim Ara that the photographers actually shoot. Rehar’s accompanying showcase at Château St George is titled Lahore: A Knot in South Asia’s Loom, sitting one cabinet over from Gucci and Roberto Cavalli. The title is doing the work.

Cannes 2026 was supposed to be Bollywood’s annual export ritual. Instead, Pakistanis slid past the L’Oréal machinery and produced the festival’s most discussed South Asian image.

II. Taste Without Empire

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Islamicate Civilisation is a Supreme Culture: But Who Stands to Inherit It?

This post grew out of an exchange with EK, the kind that can only happen in a forum that has paid for its openness. Kabir, to his credit, has imposed the hard internal checks that keep the blog from collapsing into the views of its editors.

The high culture built by the three great gunpowder empires (Ottoman, Safavid, Mughal) is one of the supreme achievements of human civilisation. All three were Turkic in dynastic origin, Persianate in literary and aesthetic register, and Islamic in faith. The Blue Mosque in Istanbul, the Naqsh-e Jahan complex in Isfahan, the Taj Mahal at Agra: these are not regional artefacts. They are a single coherent civilisational signature, expressed in tilework, ghazal, miniature, garden, cuisine, and chancery prose, across a belt that ran from the Bosphorus to the Bay of Bengal.

The question this post is about is simpler than it sounds. Who inherits it?

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